SPECTRE Production Timeline

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  • QBranchQBranch Always have an escape plan. Mine is watching James Bond films.
    edited June 2014 Posts: 14,569
    I think any of the unused Fleming titles would look good in that font- not that I want them to use those titles any time soon.
  • edited June 2014 Posts: 11,425
    boldfinger wrote:
    Nolan made his first movie on B&W 16 mm, before going into IMAX. Cameron first did a a 16mm teaser to find investors for his first 35mm short movie. And I'm just talking about the latest directors whose names are associated now with high technology. We all know how the older directors started the hard way with 8 mm at home etc.

    So digital is "easier" and then "cheaper" if you don't fancy lots of work before the shooting, sure, because you think you can control a lot during it and after it. But it means also the really passionated filmmakers in the slow making now are somewhat lost in the crowd of guys with a bit of money and "having a go" at it to try to become an instant success :)
    Not at all, because in the end the result is what counts.


    Getafix wrote:
    I wonder if Mendes is of the view that it would be great to make a period Bond movie. I have to say, I think the day may yet come when they take that approach. I just feel that contemporary technology and ear pieces etc. and mobile phones just takes away so much from Bond's world.

    The final act of SF was essentially a period piece. It was heavily contrived and implausible, but basically it's Bond up against the bad guys with no fancy modern technology. And then at the end Mendes brought back M's old office. It's almost a back to the future approach.

    Have to say personally I'd love a full on period Bond, set in the Cold War era.
    But Bond films always had a lot to do with the latest technology. Starting with Dr. No and his toppling device.

    I admit I´m not keen on a period piece. Expecially after I watched some of the old films on those gorgeous blu rays. I hadn´t had such lively childhood memories during the last 30 years, as I had when watching Dr. No on br. Period pieces never bring on a rounded reminiscence of the past, like for instance all that vegetation in DN. Period pieces instead always try to put some chliché elements big in the picture, in order to distract from the fact that they don´t really catch the full vibe. It did work in The Untouchables, but I can´t imagine how it´s supposed to work with Bond.
    I agree though that the contemporary devices work better if they are used in a more stylised fashion.

    Watch the recent Patricia Highsmith book to film adaptation - The Two Faces of January. I think they capture a period vibe pretty well. Infact, 1962, to be precise. Very little in the way of cliches - but lots of atmosphere and a wonderful sense of how much easier it was to get cut off from the rest of the world before mobiles and the internet. That era just suits Bond so much better.
  • Posts: 2,483
    Ludovico wrote:
    Ludovico wrote:
    I have to say, the whole digital versus film debate is fascinating, but right now I just wished there was any news at all.

    It is?

    Oh absolutely. It is slightly off topic now, but it is fascinating. I mean, really, it is.

    Meh. I'd rather watch a pipe rust than talk about technology, but I suppose that's just me.

  • Posts: 2,483
    The fonts used in the logos.

    UJBF+small.jpg

    From the friends at http://www.bondblog.nl

    You really are up on all the Bond tricks, marketto. Good show.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    Except for GE, Brosnan even had the worst fonts. Poor sod.
  • edited June 2014 Posts: 2,015
    JamesPage wrote:
    I didn't say Skyfall would look worse in the future, in the sense it will degrade. It's just that others methods will surpass it whilst it will be stuck in its fixed resolution.

    They can say they will boost it up later...

    If Image N has no detail below 2K resolution, you can claim to use Image N+1 and Image N-1 and motion analysis (or some guy on minimal wage doing the motion tracking...) to make Image N more detailed because then you have more information about what should be on Image N from other images.

  • Bounine wrote:
    I miss the days when they used to pick classy, interesting fonts.

    I think it's all part of the phenomenom that started to make all movie posters look the same at the very beginning of the 1990s. No photos on the movie posters for Roger and the other fellows before. No drawings on the movie posters for Pierce and the other fellow after. And Tim had both somehow. You could do interesting fonts in a poster with drawings, with photos it look a bit out of place.




  • Posts: 11,425
    I think they should produce a painted 70s style poster in parallel with the mainstream bland posters they produce these days. Something with Bond in the middle, holding the gun and then all the girls, villains and cars and explosions around him.
  • Posts: 1,548
    As Bond said to Vesper in the limo in Prague, "don't worry, you're not my type!". Drum roll please!
  • Posts: 15,114
    LeChiffre wrote:
    As Bond said to Vesper in the limo in Prague, "don't worry, you're not my type!". Drum roll please!

    That is actually quite funny.
  • Posts: 5,745
    JWESTBROOK wrote:
    Bond 24's title card at the 2014 Licensing Expo seems to have lost the 'crumbled' font used for Skyfall's promotion.

    Can anybody spot the font?
    http://www.comingsoon.net/gallery/119560/Licensing_Expo_2014_65.jpg

    Source: Comingsoon.net

    Actually, there was another "official" version of the B24 logo, which by the way, was posted in the official 007.com site, but never used to promote the upcoming film, as you can see in the following link.

    http://007.foxfilm.com/wp-content/uploads/2013/07/BOND-007Com-Bond24-650px.jpg

    :)

    That title seems to fit more with the theme of the website. Since this new font was previewed at the Licensing Expo, it is more likely to be used as it is part of the marketing license.

    I wonder if companies have to pay to use certain fonts, or if some possibly 'own' distinct fonts (like the Indiana Jones titles)...
  • edited June 2014 Posts: 2,015
    Skyfall had a 1.9:1 aspect ratio in IMAx which meant more picture at the top and the bottom of the screen.

    And btw, what is the image that Deakins and Mendes composed for the best result ? :)
    This IMAX thing was pure marketing. No way Skyfall was shot with IMAX in mind, and borders cropped for the rest of the world...

    Here you can see the red line with which they saw what would be shown in theaters.

    1351374319-ratio3.jpg

    The marketing guys said at Sony,
    - eh, come one, do you see the whole picture around the borders, we can sell it for more dollars :)
    - hm, are you sure, here for instance, in the IMAX image the extra looking at the car now becomes the important element of the picture, while the image was clearly made to focus on the car stunt, they took care not to show the extra's head in full, you see.
    - uh.. are you serious ?
    - no, just kidding ! let's make dollars !

    There's a famous anecdote with an helicopter in Shining that only appears in release made in wider formats, "Stanley Kubrick would never have let that pass".
  • Posts: 5,767
    As for 2K, 4K and up, the display resolution won't increase forever. Most people can't tell the difference between 2K and 4K let alone between 4K and 8K.

    Have you seen 4K ? It popped to my eye who was "used" to less resolution.

    Maybe someone who has never seen HD won't be able to say the difference between 2K and 4K. But spend some weeks with 2K, and the 4K will look definitely like something far better. And so on.

    Without being mutants, we have all "super acuity" : we may not be able to see little characters, but show us two segments that are on the same line or that are slightly off, and then we're all super good at detecting such things. We perceive details that we cannot really see. So the resolution can increase a lot and we'll still be able to perceive it's different, I'm pretty sure.

    And well, there's also the amount of data per pixel (color and light encoding, here I know I'm not using the good English words but I think you understand)
    I'll try to find some examples of unprocessed raw photos from digital photographers and the result you see in the magazines after fully exploiting the raw data to make them nice. It is quite telling.

    Skyfall looks great now and it will never look worse than it does now.

    Human perception is influenced by habits.

    The Freres Lumiere movie were probably far more like the "real thing" to the crowd of that time than it is for us.

    And the 48 HFR Hobbit looked "too much like watching the actors on set" to some, that were used to the old 24/25 FPS of movies and TV.

    I also had the opportunity to watch a 60 FPS movie on a large screen. It is so lively if you shoot an actor and project it at life size, you've got a weird holographic effect even though the screen is obviously flat in front of you.

    Don't underestimate the future. What is nice now can look dated in the future...
    I´m not so sure. What bothered me about those dvds I swapped for brs had nothing to do with sharpness, even though I´m amazed at some brs. No, what made me go to br was uncomplete restauration, things like grain that had nothing to do with the way the films were shot, but with the way there were things in the picture that were not shot in the first place.
    Br has a sharper picture than dvd, all right, but that doesn´t always make it look better. 4K, 8K, 16K won´t change anything about that.


    Getafix wrote:
    Watch the recent Patricia Highsmith book to film adaptation - The Two Faces of January. I think they capture a period vibe pretty well. Infact, 1962, to be precise. Very little in the way of cliches - but lots of atmosphere and a wonderful sense of how much easier it was to get cut off from the rest of the world before mobiles and the internet. That era just suits Bond so much better.
    A friend told me it was very boring, so I might pass on that, but I get your point. Still, for me Bond has always been about state of the art. Which has to be used properly of course. The fact that a lot of gadgetry has become solid part of everyday life makes it problematic for Bond films.



    Skyfall had a 1.9:1 aspect ratio in IMAx which meant more picture at the top and the bottom of the screen.

    And btw, what is the image that Deakins and Mendes composed for the best result ? :)
    This IMAX thing was pure marketing. No way Skyfall was shot with IMAX in mind, and borders cropped for the rest of the world...

    Here you can see the red line with which they saw what would be shown in theaters.

    1351374319-ratio3.jpg
    I can´t help it, I´m a sucker for widescreen formats. I loved how the latest Godzilla was presented in widescreen. So count me out for IMAX.

  • Posts: 4,408
    New John Logan interview:

    http://voices.suntimes.com/arts-entertainment/the-daily-sizzle/john-logan-talks-about-penning-the-book-for-stings-new-musical-the-last-ship/

    Not much info but Logan does say that he has grown tired of writing for Bond and wants to move away from writing big movies and focus on theatre and television. Logan always struck me as a big Bond fan, but his writing in SF was tempered by the work already done by Purvis and Wade, by himself Logan has a tendency to over-indulge (anyone who has seen 'Penny Dreadful' will know how over the top and groanworthy the dialogue is there) Do we think Mendes has brought on or will bring in another writer soon? Who should he get?

    - Joe and Ethan Coen occasionally take on gigs as writers-for-hire (Unbroken and Gambit).
    - Abi Morgan
    - Hossein Amini
    - Peter Straughan
    - Paul Haggis
  • Posts: 15,114
    At least we can debate something else than font.
  • Samuel001Samuel001 Moderator
    edited June 2014 Posts: 13,355
    Well, to me, all he says is the big films and film in general are less interesting to him as he's done that for so many years compared to theatre or TV. I don't see him giving up or needing another writer for Bond, at all and have no idea how what he said gives anyone that idea.
  • edited June 2014 Posts: 2,015
    Well, to me, it's quite telling he's saying publicly he's not interested any more in writing Bond. Do you really believe someone knowing he will have take part in the promotion for Bond 24, during which he will have to explain how great it is to write for Bond, would say something like that so clearly, so early ?

    We also know his original idea of a two movie arc was abandoned. Does he sound like someone who went on to produce another story then ? He's in Chicago for several weeks, while rumors say the script is still being worked upon at the moment. I posted some photos of him cleary not working on the script in the last weeks. Not sure at all he's involved, IMO.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    He is tired of Bond already? That bodes well for Bond 25.
  • Samuel001Samuel001 Moderator
    edited June 2014 Posts: 13,355
    Watch the video.

    Asked if Logan's just talked about new musical would be "an original story or based on something", he replies:

    "I can't say but it is interesting as I look forward, you know, look at the work I've done, the big movies, the Bonds and things like that, are increasingly less interesting to me because I feel I really have done that, I've walked in that world long enough but the theatre always fascinates me, always has since I was seven, you know, and television which is brand new to me is also fascinating to me. So if I had to look into the future I would imagine I'd be doing theatre and TV, like almost exclusively."

    Make of that what you will.
  • Posts: 5,767
    I watched the video. To me, it could mean either he´s lost interest in Bond, or his work is so welcome by Eon he´s trying to raise his salary for Bond 25.
  • He talked about being not interested any more in Bond in a question that had nothing to do with Bond. As the fact his first script was abandoned had been much publicized, as the fact he had a contract to pen Bond 24 and 25 was also publicized, it is really wishful thinking IMO to think everything is fine between him and the producers !
  • Posts: 9,846
    I have had my fill of John Logan being a jerk so I could say te feeling is mutual especially when their are much better writers out there.
  • Posts: 6,396
    Me thinks the relationship between Logan and EON is crumbling...
  • Posts: 12,526
    Well i guess that could be why we haven't heard much? I hope this does not signal a delay? A rushed filming schedule? Maybe this is the reason DC pulled out of the courtroom movie earlier this year? :-?
  • Mendes had just worked a lot with Logan (the TV show). He also had some habits with Newman. If he comes back without them, maybe he'll be in it "for the money". But is that necessarily a bad thing ? A de-luxe yes-man at the helm of a true Bondian effort, and not an auteur twisting Bond to his style, that's something many fans secretly wish :)
  • Posts: 12,526
    Will have to see if Eon make any changes in the next few weeks?
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    I don't know what to make of it. Logan's writing for Penny Dreadful is cliched and melodramatic a good deal, but it fits that show: that is a penny dreadful after all. I don't know how attached he was to his two film story arc for Bond. Really, I don't think he and Mendes would have worked on Penny Dreadful together if things were going sour. I don't want to have an overblown reaction to what he has recently said. I am hopeful that Bond 24 will be solid and have a good script. They may well be pulling in some other professionals for final touches, some revisions, some polish. That happens often.
  • Posts: 7,507
    Hm, does this mean Logan has been recruited by the ghost of Kevin McClory? And that Edward Snowden will be the next Bond writer? Or maybe Michael Wilson is secretly planning to invade Polen, and this is Logan's way of shoving his disgust?

    Lets keep on overanalyzing, shall we? :)
  • Posts: 15,114
    I am not the biggest fan of John Logan as a scriptwriter. I don't hate him, but in general I find him overrated. He writes some good, maybe even great, dialogues, he can write great characters too, but he is not the greatest plotter. His Star Trek Nemesis was very weak and while I enjoyed Gladiator as a fun sword and sandals flick it is a vastly overrated movie. I enjoyed SF far more and find it superior, but blame him for the contrived turn of events surrounding Silva's escape. So I would be quite happy if he had a somewhat lesser role in the creative process. I always thought a two movies arc was a big gamble.That said, in this interview he seems very pleasant and what he says about being less interested about making big movies and being more interested about stage work, I can appreciate this. Sometimes you want to do something different, and as a former amateur thespian I know how the stage can appeal.
  • Posts: 2,483
    Ludovico wrote:
    I am not the biggest fan of John Logan as a scriptwriter. I don't hate him, but in general I find him overrated. He writes some good, maybe even great, dialogues, he can write great characters too, but he is not the greatest plotter. His Star Trek Nemesis was very weak and while I enjoyed Gladiator as a fun sword and sandals flick it is a vastly overrated movie. I enjoyed SF far more and find it superior, but blame him for the contrived turn of events surrounding Silva's escape. So I would be quite happy if he had a somewhat lesser role in the creative process. I always thought a two movies arc was a big gamble.That said, in this interview he seems very pleasant and what he says about being less interested about making big movies and being more interested about stage work, I can appreciate this. Sometimes you want to do something different, and as a former amateur thespian I know how the stage can appeal.

    Now, now. The last thing we need around here is a mature, levelheaded opinion to interfere with our hyperventilation and bloviation.

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